The Recording Studio London, co-owned by producer/artist Paul Visser with Joe Barboza and Dave Ferguson, recently implemented a new small-format Neve 8424 console that’s one of the world’s first facilitys to add the company’s recently launched flying fader automation package to the desk.
“The 8424 is unique in its class and perfect for us. It was a no-brainer,” says Visser. “Having the benefit of the top-flight analoe path combined with the very well implemented flying fader DAW control has already been a game-changer. It reminds me of mixing on a large-format console.”
Spread across two commercial spaces in East London, The Recording Studio London is a music recording and production company that specialixes in writing production, recording and artist development. Established in 2014, the co-woners are also Paul, Joe and Dave are also band mates in the successful rock band Black Orchid Empire.
“We used to produce in other studios but eventually decided to get our own place,” notes Visser, who is the band’s singer and guitarist. “We now have a larger tracking, mixing and mastering studio with a live room in Mile End and a smaller writing and production space in Star Lane. The 8424 has been installed in the Mile End studio and our clients love it. The few attended sessions I’ve done so far have been great, and ergonomically the studio is now a much nicer place to be, which is a huge bonus.
“The console’s layout and small footprint are very well thought through and powerful without being overly complex,” he continues. “Actually, one of the main reasons it worked as an option for us was that the preamps and EQ are external to the console. We already have outboard for those – meaning we weren’t spending money on features we didn’t need to duplicate. That said, we also ordered a Neve 1073OPX and two 1073EQLBs, which are also amazing.”
The recently introduced an automation package for the 8424 was another reason why The Recording Studio London chose the console. “We knew the automation package was coming and it was a big deal to us,” he says. “I’ve always wanted physical control over the In The Box mix, but never found a solution like this before. As we were one of the first 8424 users to receive the flying faders, we weren’t sure exactly what to expect but the functionality is great — the scribble strips are awesome and the faders feel perfect. It’s actually better than I’d hoped. Having the benefit of the analog path combined with the very well-implemented DAW control has already been a major benefit to us.”
He adds that the 8424 has now become the backbone of the studio and is having an impact on his own workflow. “I’ve always tracked through as much colorful hardware as possible and then actually mixed ITB — the need for recalls and changes makes it more efficient. With the 8424 I’m definitely going to be tempted to run an analog mix bus more often and possibly sum through the desk too. The low-end weight supplied by the console is undeniable.”
